Question for you double neck players?

admin · Post by **b0b** » 2 Jun 2015 10:14 pm

Richard Sinkler wrote:Back in the 70's and 80's, I had some a non-standard change on my C6, that "duplicated" E9 licks. I played Bud's Bounce for the opening and closing songs for a TV show that my band was the "house" band. I talked with other players and they couldn't tell the difference.

Makes sense. My D6th copedent includes the A+B pedals and F lever from the E9. I also have a lever that that raises the root tone D a full step, like the C pedal on E9. It doesn't sound like E9th to me, but most musicians who don't play steel can't hear the difference. It sounds "country", and that's all that matters.

Richard Sinkler · Post by **Richard Sinkler** » 3 Jun 2015 10:01 am

I had a knee lever that raised only the 3rd string to D. When you use pedal 6 to get the 'F' chord on 2,3 and 4, that C to D is equivalent to the A pedal on E9. use the A to Bb lever and the C to D lever, and now you have Bb, or the 4 chord (in F). And, letting off all the changes gives you the C chord (having to use 2,3,and 5 instead of 4). I forget all the rest of the details of that tuning, as I quit using that change when I started using a Super Pro in the mid 80's. Both my first 2 ZB's and my Kline had the C to D change on 3. I also wish I could have had the E to D change (for an A pedal sound). Watching the tapes of the shows, you could see me working the knee levers to death. They did most of the work, whereas the pedals on E9 would have been doing most of the work. I did this C6 version of Bud's Bounce only because I could. I wish I had copies of those old shows.

These were changes that I discussed a few times with Bobby Black back in the '70's. I think he might have had them on one of his "at home" guitars, as I don't think his performing guitars had them. And then, we might have just discussed it.

Ian Rae · Post by **Ian Rae** » 3 Jun 2015 1:32 pm

One thing in favour of the Day setup is that on a uni you have a real A pedal to make that raise, and it's next to the B6 pedals.

chris ivey · Post by **chris ivey** » 3 Jun 2015 5:53 pm

i'm still just waiting to hear players work around any kind of tune on a 12 string without it seeming like two separate approaches.
david wright is the only one i've heard do it.

and i think david wren is getting there, too!

Mike Wilkerson · Post by **Mike Wilkerson** » 3 Jun 2015 6:40 pm

Alan Brookes wrote:C6 doesn't have the pedal A+B combination to give you the subdominant. Neither does it have the top two re-entrant strings like E9 does. So there's more bar movement, and there's nothing in E9 like those rich chords that you get in C6 when you slide a full chord up the fingerboard. To my mind, they have totally different sounds, and I dispute that you can play most C6 riffs on E9. E9 has a string missing right in the middle compared to C6.

Buddy Emmons played on the Gatlin Brothers cut of Houston from what Bobbe Seymour told me he did it all on the E9th neck and many thought he was on the C6 neck

Mike Wilkerson · Post by **Mike Wilkerson** » 3 Jun 2015 6:43 pm

chris ivey wrote:i'm still just waiting to hear players work around any kind of tune on a 12 string without it seeming like two separate approaches.
david wright is the only one i've heard do it.

and i think david wren is getting there, too!

You are exactly right Chris plus David Wright is a monster player.That man is awesome on his uni12